Film scoring/original music
Find some recent film work below
Tsubu
"Tsubu" is a 2D animated short following a fennec fox as he confronts loss and journeys across the desert, solving riddles in search of his dawn.
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I provided music, sound design, and mixing for the project. The brief called for an organic score that felt hopeful, gentle, and grounded. Blending atmospheric textures with analog synthesizers allowed the score to feel contemporary while remaining closely tied to the world of the film. Reference 1:27 for sound design and subtle score work, and the main theme at 4:18.
Pattern
While visiting a vibrant Afro hair salon, Quen is drawn into a conflict between personal interest and social justice as the wait for her turn reveals hypocrisy and inequality—both in the salon and within herself.
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I composed the original score to establish excitement, urgency, and underlying tension at the film’s opening. Drawing from funk and soul references provided by the director, the cue asked to feature brass. This was paired alongside a core of bass, organ, and drums, with a vintage synth lead driving energy and momentum between sections.
Paige
"Paige" follows a university student whose anxiety leaves her disconnected from both her peers and her environment, revealing a rich inner emotional world beneath her outward stillness.
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Late in production, I collaborated with the director to add an original end-title song that introduces warmth and melancholy in contrast to the film’s isolation. Drawing on my network, I enlisted a vocalist and guitarist to realize the piece in a restrained, bossa-inspired acoustic style.
ESTRANGED
"ESTRANGED" follows Jasmine and Sage as visions of their mother force them to confront past abuse and family trauma. The film explores how unaddressed trauma and parentification affect Black women and girls.​
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For this horror film, I combined original score and immersive sound design to heighten tension and unease. Guitar harmonic plucks, electronic and taiko drums, and layered synthesizers build suspense, with buzzing synths and intensified drum impacts evoking a lurking monster drawing nearer.
Kill the Babies
Kevin, an enthusiastic screenwriter, brings his latest script to his mentor, Jeremiah, known for tough but insightful feedback. As critique unfolds, Kevin struggles with letting go of ideas he holds dear, navigating the tension between vision and necessary edits.​
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For this comedy, I created a synth-pop title track that highlights the film’s energy and playful tone, doubling as a theme for the main character.